Old Age With Stretch and Stipple (Subtle Aging) - WarpaintMag

Old Age With Stretch and Stipple (Subtle Aging)

Now lets use S&S to create REAL wrinkles. There are many commercially available stipple formulas, mostly using liquid latex plus other ingredients to enhance wrinkling properties and add resistance to sweat. The formula I used is from Dick Smith's Advanced Professional Makeup Course and contains foam latex base, gelatin, acrylic matte medium, talc, and pigments. But, if your actor has a latex allergy you can also try PPI's Green Marble SeLr Concentrate. You will

see this technique featured later in Eryn Krueger Mekash's gothic vampire make-up (p343).

Some of the materials I used to create this, and most stretch and stipple make-ups, are shown to the left. You'll see some of the sponges are torn to leave the surface with liver spot shapes that I can basically use as a stamp to break up the skin.

In the next image you will see various sized triangle sponges that are the perfect little precision tools for applying the stipple to small areas like the upper and lower eyelids.

In this same photo you'll also notice some make-up brushes, including a few chip brushes that have been cut down. The cut down chip brush has become a staple tool for make-up artists everywhere. When the bristles are cut short, they are much more springy and can be used to "fleck" or spatter colors onto the face. Get skilled with a chip brush and the make-up world is your oyster! With practice, this technique lets you do everything from a very fine, almost airbrushed look to a very heavily textured spatter pattern. It is truly the best 59 cents you'll ever spend.

The bottom photo shows PPI's Skin Illustrator Glazing Gels. I like to use these water based gels for my intial painting under the stipple. Their transparency under the latex truly makes the colors look like they are coming through the skin, not just sitting on top.

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For this I used a very well-used synthetic brush that has it's bristles splayed in all directions.

Next, I used the Character 1 Gel Make-up with a super fine brush to enhance the eyelid veins. I also used this same color to accent the dark under-eye circles. Anything you can do to weaken the features or break up the skin makes your subject look less healthy.

My preference is always to do as much under painting as I can before we start the stretch and stipple steps. I started with character accents on the eyelids using the Red 3 Gel Make-up. Blotch it lightly and transparently on the lids, in the corners of the nose, and on the cheeks to add a little ruddiness and simulate broken capillaries.

Finally, I stippled Character 2 and Tan 2 Gel Make-ups on with the same splayed brush to create random age spots. "Randomity" is essential to making freckles and age spots!! Your main goal with these steps is to break up the skin so it's no longer smooth and youthful looking.

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Once the Gel Make-up is dry, they don't move or smear on the skin at all. And since they are transparent, they don't look at all like they are painted on top of the skin, but instead really do seem to be coming from underneath. There's no need to powder them either! The chart below shows the areas where we'll do the stretch and stipple technique, the order in which the steps should be done, and the direction the model's skin should be pulled. I always start with the upper inside corner and from there work my way around the orbit of the eye. Before we start, I want to give you a few keys to success with stretch and stipple: * Always start with a squeaky clean, oil free face. * Work in thin layers. Don't put it on too wet or too heavy. * A hair dryer helps speed up the drying. Always dry thoroughly before adding another layer. * Never release the skin until it's powdered! The stipple will stick to itself.

* Always overlap sections, making sure all connecting areas have wrinkle texture. * Throw away your sponge after every two sections. They get gummed up and can stick to already dried stipple, causing edges to peel up and destroy what you've already done.

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Dry your first coat very thoroughly with a blow dryer. You'll know it's dry when it turns completely clear (keep your blow dryer on the low setting, and keep it moving so you don't burn your model). Once it's dry, DO NOT release it! Add another light coat, then dry that too. Before you release it, you MUST powder it. If you don't, the latex will stick to itself, effectively gluing your model's eye open. They do not like this.

Follow the chart on the previous page, starting with the inside half of the upper lid.

Use one of the smaller, sort of pointed sponges to apply your first coat of old age stipple while pulling the lid up and slightly towards the center of the forehead.

To do this, I usually put my thumb right on the eyebrow, stretch, then stipple on the latex.

I use a brush to powder the stipple, rather than a puff, because it's just easier to get into all the little wrinkled areas.

I cannot emphasize enough just how important the role powder plays is to the stretch and stipple process. There is no real way to repair stretch and stipple perfectly. If it gets damaged because it stuck to itself, you basically have to remove it all and start from scratch. Not fun!

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Repeat the same steps again for your second coat. The photo to the right shows the results of the first area with two coats of stipple that I've powdered and released. Brush off all the excess powder.The model now has real wrinkles!

The next step is on the outer half of the upper eye, about as wide as the outer end of the brow. When you apply here, make sure you slightly overlap the previous section.

The upper crow's feet area is sort of a strange pull direction. I grab the outer end of the eyebrow and pull that towards the center of the forehead. Stipple, dry, repeat, and powder.

For this make-up, I actually did apply a third coat of stipple in this area, as I wanted to make her crow's feet slightly more prominent.

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This makes sure there are no unwrinkled areas in between the two sections.

The pull for this outer eyelid area goes up and slightly toward the temple. The procedure is the same: apply one coat, dry that completely, apply a second coat, dry that completely, and powder before releasing the stretch.

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